Never Flinch Chapter 10 – Sista Bessie’s Tour, a Press Conference, and a Killer’s New Plan

Spoiler Notice

This summary and analysis contains detailed spoilers for Chapter 10 of Never Flinch. If you have not yet read the chapter, proceed with caution.

Summary

Chapter 10 weaves together three narrative threads. Jerome delivers Barbara’s car to the Mingo Auditorium, where the Sista Bessie crew is setting up for a show. He meets tour boss Tones Kelly, sound engineer Ross MacFarland, and Sista Bessie (Betty Brady) herself. Betty takes Jerome aside and asks him to persuade Barbara to sing “Lowtown” as a duet and to join the tour beyond Boston—not just as a roadie, but as a performer. Barbara, flattered but hesitant, insists she is a poet, not a rock and roll girl. Meanwhile, Holly accompanies Kate McKay to a press conference in Iowa City and later to a speaking event at Macbride Hall, where protesters from a pro‑life group interrupt but are defused by Kate’s calm crowd management. Holly scrutinizes the audience for the woman who attacked Corrie in Reno. Elsewhere, Buckeye City Detective Isabelle Jaynes is forced to participate in a publicity event for the annual Guns and Hoses charity softball game, where she clashes with fireman George Pill. Later that evening, Izzy receives a phone call from the serial killer using the alias “Bill Wilson”; he sends her a picture of a woman’s hand bearing the name “Corinna Ashford,” Juror 7 from the Alan Duffrey trial. The killer, Trig, has just murdered a drug‑addicted woman in the condemned Holman Rink and placed Ashford’s name in her hand. Trig, having gained access by using a “Plumber’s Code” his father taught him, now envisions the rink as the site for a “grand finale” attack on his remaining targets. He discards the burner phone but knows the police will eventually trace it. The chapter ends with Holly and Corrie driving Kate to a Holiday Inn, Holly’s anxiety rising.

Key Events

Jerome arrives at the Mingo Auditorium and uses his sister Barbara’s name to gain entry to the Sista Bessie tour crew.
Betty Brady (Sista Bessie) asks Jerome to convince Barbara to sing “Lowtown” and to extend her involvement with the tour beyond Boston.
Holly and Corrie scout Macbride Hall for safety; Kate delivers a fiery speech despite pro‑life protesters.
Izzy Jaynes is forced to pose at a press conference for the Guns and Hoses game, where she trades barbs with fireman George Pill.
Trig uses his father’s knowledge to open the condemned Holman Rink, then lures a drug‑addicted woman inside, kills her, and writes “Corinna Ashford” on her hand.
Trig calls Izzy on a burner phone, identifies himself as “Bill Wilson,” and sends the photograph of the victim’s hand.
After Kate’s event, Holly exits through the South Hall and reviews audience photographs but cannot identify the attacker from Reno.

Character Development

Jerome Robinson: Remains the supportive brother, recognizing Barbara’s talent and seeing the “chameleon‑like” quality that lets her fit any role. His love for her is a rare moment of personal warmth away from the investigation.
Barbara Robinson: Torn between her identity as a poet and the lure of performance. Her refusal of Betty’s offer is rooted in shyness, but the chapter suggests she wants to be persuaded.
Betty Brady (Sista Bessie): Reveals a demanding, diva side beneath her frumpy exterior, using her celebrity to push for what she wants. Her hug and back‑slap show a forceful personality.
Holly Gibney: Demonstrates thorough security thinking but admits her own anxiety and feelings of inadequacy. Her mother’s voice in her head highlights her internal pressure.
Trig (the killer): Uses his father’s electrician tricks and AA/NA lingo to manipulate and kill. His planning for the “grand finale” at the Holman Rink shows escalating ambition and a psychological need to re‑enact his father’s sermons.
Isabelle Jaynes: Frustrated by being used as a prop for the charity game, but sharp and professional when the killer calls. She follows protocol to trace the call.

Themes, Symbols, or Motifs

Performance and Identity: Barbara’s conflict between poet and performer mirrors Kate’s stage persona, Trig’s masquerade as a normal citizen, and the press conference as a “photo op” that masks a murder investigation.
Toxic Masculinity: George Pill’s belittling of Izzy and the reference to his father’s fire hat reflect a patriarchal code that Trig also inherited from his abusive father.
The Condemned Place as Stage: The Holman Rink is a decaying relic of Trig’s childhood; he intends to use it as a theatrical setting for his final act of murder, linking his father’s “eighteen‑minute sermons” with his own kill‑room.
The “Plumber’s Code”: Knowledge passed from father to son becomes both a key to access and a gateway to violence.

Why This Chapter Matters

This chapter deepens the parallel between the two main plots. Jerome’s encounter with Betty and Barbara injects a note of hope and artistry into the novel, while Trig’s cold‑blooded manipulation of the addicted girl and his call to Izzy escalate the serial‑killer thread. The introduction of the Holman Rink as Trig’s intended stage for a mass‑casualty event raises the stakes for all characters. Additionally, Holly’s growing unease as a bodyguard sets up future tension, and Izzy’s direct contact with the killer shifts the investigation from passive pursuit to active confrontation.

Study Questions and Answers

Why does Betty ask Jerome to persuade Barbara to sing on tour?
Betty recognizes Barbara’s vocal talent and wants her to duet on “Lowtown,” but Barbara hesitates because she identifies primarily as a poet. Betty believes Jerome’s influence as a trusted brother can overcome Barbara’s shyness.
What does Trig’s method of entering the Holman Rink reveal about his background and psychology?
He uses the “Plumber’s Code” (PC 9721) that his electrician father taught him. This shows that Trig repurposes his father’s skills and memories, even though his father abused him. The rink itself is associated with his father’s “eighteen‑minute sermons” and rare hugs, linking Trig’s violent adult acts to childhood trauma.
How does the tension between performance and reality manifest in Izzy’s press‑conference scene?
Izzy is forced to smile for a charity softball game while she should be hunting a serial killer. The contrast between the “fluff” of the event and the grim reality of her workload highlights how official duties can hinder justice and how gender‑based condescension (from Pill) adds another layer of frustration.